A Quote by John Knoll
I think it's an important part of the visual effects supervisor's job to get really deeply embedded in production and keep us all focused on trying to generate the best result. I'm not proprietary about, 'I would rather do this effect than let physical effects do it.' No, let's do the smartest thing for the movie.
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In high school and college, I'd set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a 'Star Wars' movie. And I wanted to work on a project that wins the Academy Award for best visual effects.
People hired by government know who is their benefactor. People who lose their jobs or fail to get them because of the government program do not know that that is the source of their problem. The good effects are visible. The bad effects are invisible. The good effects generate votes. The bad effects generate discontent, which is as likely to be directed at private business as at the government.
The most important thing is that you have to have the visual effects working for you, instead of you working for the visual effects.
For ages I thought I'd wasted my career doing visual effects, I wanted to be a filmmaker. And then I've learnt at the end of it all that actually visual effects was probably the best training ground I could have had.
The capacity to create [visual] effects in the computer has made the job easier, but it has also introduced the complexity that you can with a few more keystrokes generate such a busy canvas that the eye doesn't know where to go. You lose human scale on an event and you're just wowed by the kinetics and the visualization. But, often in those cases I feel you lose touch with the human characters and what it is that they would feel and how they might feel, and that's still the most important part.
Nearly everybody nowadays accepts the 'causal completeness of physics' - every physical event (or at least its probability) has a full physical cause. This leaves no room for non-physical things to make a causal difference to physical effects. But it would be absurd to deny that thoughts and feelings (and population movements and economic depressions . . .) cause physical effects. So they must be physical things.
I really believe that you could do horror very inexpensively. I don't think it has anything to do with the effects, the effects are not the most important parts.
Before I became an actor, I was a producer and a visual effects supervisor. Our industry wasn't making the kind of films I was interested in.
I don't necessarily think there's a difference in terms of how the film industry and the ad industry view visual effects. If visual effects (or the lack thereof) are used as a tool to strengthen an idea, they're great. If they are meant to carry more of a load in the absence of a concept, they're a waste and a distraction.
When we think about a great movie, I mean, what do we think about? We think about story, we think about character. And when the visual effects aren't perfect, we forgive it.
That the mechanisms of mass-production, which feed the demand for endlessly growing consumption in one generation can radically effect the possible futures for subsequent generations. Furthermore, to undo the effects of one generation's actions is not temporally relative. What is done, cannot be undone in the same timeframe. Like the factories themselves, the effects linger, they haunt us long after their final breath.
I think for most people, the audience probably couldn't tell the difference, but I know they [shots of visual effects] can be better. And the people working know they can be more precise. I'm still doing another round of sound mixing and color timing, pretty technical stuff. I think the movie [Life of Pi] is really presentable, nothing was left out that would take you out of the movie. I just need to perfect the job and I still have two weeks to go [to deliver final cut to Fox].
Acting is primarily is where I want to go. But seeing how the visual effects guys work, and the special effects guys and the art department guys, how they work and seeing their visions is really interesting. I don't think those guys get the recognition they deserve.
Most people went to dance shows, but it was basically a table and a DJ playing and not really a spectacular thing. I brought the whole production with the effects - the best sound, the best lighting to blow the fans away.
The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.
It's a world creation show [Shadowhunters], so we've gotta work hard in the physical production capacity with the visual effects, the sets and everything. It's not just the real world with two people chatting in a diner. That's tough on a television budget.
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